Inc. – as “Inc.” or “inc.”, abbreviation of “incorporated”… and sounds a bit like ink. …

“My Masters Degree Study looked in particular at Visualisation of Educational Concepts for Art School Students, and links between Reading, Empathy and Creativity as well as Developing Concept Art for an Empathy/Games based research project called Rabbit Heart.

Well the definition we use on the Games Design course we run at HSADstates:.

For the purposes of these sessions we’ll define it as anything that moves under its own volition, speaks, or gives the distinct impression of harbouring its own inherent “life” or “agenda”.

This would include all human(-iform) characters… People, of all shapes, sizes, ethnicity and aliens, ghosts, gods, demons; animals and creatures of all types (speaking or non-speaking); robots, androids and mecha; A.I.’s (disembodied or with a computer interface), possessed inanimates or vehicles (Herbie*, Stephen King’s Christine* and the ship, Moya, in Farscape* are all characters), and any plants with intelligently mobile tendrils/tentacles/roots etc.

Characters (along with Story) are the driving force behind the design and successful uptake by an audience for Games, Animation, Film, TV and even web and Print based media; and many successful characters are taken beyond the media for which they were created. Some appearing in other media (games characters with their own comics), toy and clothing lines, appearing on everything from pencil cases to lunchboxes.

The development of Pixar’s Merida (Pixar’s first female protagonist) from “Brave”, it is possible to see both physical and psychological influences on her overall character design, here they discuss her hair reflecting her free character and spirit, while we see an animator acting out her frustration whilst creating pivotal scenes – getting into the head of the character (something we try to do whether the character is like us or not).

What are his powers and abilities? What are his flaws and weaknesses? How does these flaws affect our ability to tell stories?

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PART TWO – THE DESIGN PROCESS

So where to start?

Sketches? Thumbnails?

Well, of course, yes… but before putting pencil to paper there are some fundamental things we should consider.

These images even though a simple rough sketch, shows relative scale between two characters, as well as alternative outfits.

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CONCEPTUALISATION – Thinking about our characters before we start making images.

As character designers you will become in varying degrees, Actors, Costume Designers, Choreographers, and in some cases (I’m thinking of creature and robot design in particular) Mad Scientists…

Hero or Villain?

Establishing some broad strokes of basic characterisation like those just listed is a great start…

So… Are they a traditional hero/heroine? Maybe a Dastardly Villain, or are they something in between… a complex (sometimes conflicted) Anti-hero perhaps? Are they Grim? Jovial? Aloof? No nonsense and business-like?

We are talking personal, internalised traits here… you could do worse than look at pages 161 – 280 (I’ve bookmarked it in the studio copy) of David Perry on Games Design… in which he discusses, in a vast amount of detail (right down to Myers Briggs trait and personality types), how to, and at what depth (depending on the role of the character within your entertainment media project) you should or can flesh out your characters.

Moving to the outside…

Role or Job.

Well, what does your character do? What is their job? Soldier? Explorer? Detective? Magician? Sentinel? Criminal? Does their role bring with it a uniform or specialist attire? What is there function in the game or animation? Protagonist? Sidekick? NPC, or are they just plain, good old cannon fodder or background bodies?

Costume.

Does their appearance and costume reflect their internal character? Are they a heroic knight resplendent in shining armour, or a black-cloaked sorcerer complete with dark rings around their blazing red eyes? Or does their appearance disguise their true nature? Does those cute teddy bear like features and big doe eyes in fact belong to a creature that harbours a ravenous appetite for human flesh?

Is their costume reflective of an actual period of history, or of an existing profession or social type?

Could it help to hit the books and do a little research?

Well, it wouldn’t hurt…

Voice

Does your character speak? If so, what kind of voice do they have? Rasping and harsh? Beautiful and clear? Whispering and indistinct?

Can you hear a particular actor or celebrity voicing them? Finding a voice for your character like this might actually help with other elements of there appearance…

How would your character begin to appear if you imagined them voiced by Iggy Pop? Kylie? Morgan Freeman? Bjork? David Beckham? Okay… maybe not.

Choreography / Movement / Physical Appearance and Body Shape.

Beyond, both simple and complex, appearances, how do they move? Are they Balletic and Graceful? Moving with deadly efficiency? Clumsy? Oafish? Heroically posturing? Skulking and slinking? Think about the differences in movement between say, the lumbering Big Daddy in Bioshock, or some of the characters in say Prince Of Persia or Assassins Creed (people can and do move like that – For example, see stunt man Damian Walters HERE).

Okay, with costume and choreography in mind, now might well be a good time to consider that great signature move you’ve been waiting to bestow on a character, are those two-foot spikes on your hero’s shoulder armour going to help him/her forward roll out of danger? And is that batman-like flowing cloak(start video from 1.57) really going to help with a special double somersault attack whilst swinging a mace?

Just a thought…

Subtlety and a sense of the Unique in Character Design.

The influence of our own lives on characters we invent can be huge.

We tend to hang out with people who dress the same, listen to the same music and like the same movies. – this doesn’t help us design a great range of characters however. It tends to make design characters that are exactly like us, or perhaps even the polar opposite when designing the villain.

Maybe if we have travelled a little, tried new things, hung out in new places and been a little more open to meeting new people from a range of places we might have more to go on.

What things, people or places have you seen that your peers may not have experienced, could any of that be used to help design your character?

And what about Creatures?

So what about creature design? Well one really important thing you might want to consider is to try to avoid using creature designs from your favourite existing games as a starting point for your own… that way lies derivative design.

Sure, download some of those images… but try sticking them in your sketchbooks and maybe taking some time to analyse what that designer has done, what creatures/forms has he/she hybridised and to what purpose? What was their original source material? What effect where they going for? Most importantly did it work? Then think about how you can apply some of your findings to your own design process.

Just as I’ve said before about life drawing being important for your ability to draw the human figure, and observed drawing of objects and architecture for inanimates.

Observed drawing of animals from life is going to help you with your creature design… not just their appearance, but how they move, how their weight shifts during that movement.

Visit a zoo, get down to The Deep…

…and take your sketchbooks!

Even the odd sketch of (and so time spent observing) your domestic animals and pets can begin to inform you about the way creatures move, hold themselves, how their weight is distributed, and so helping you develop believable forms and creature shapes of your own…

No matter how fantastical they might be in essence…

Sometimes a little hybridising of creatures and technology works too… what’s not to like about Robot Space-Monkeys for instance…?

So at times it’s probably worth paying some attention to how technology fits together… pivots, sockets, flanges, radiators, valves, telescopic tubing, wires, terminals, vents, grilles, joints, fixings and hinges… all can be observed in the real world and then applied in the conceptual ones…

That of course goes for people too…

There’s no telling what strange shaped, visaged, be-quiffed, garbed and choreographed human entities you might stumble across. All can be fodder for your imagination, and reshaped and their unique details re-purposed for your character designs.

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PART THREE – SO WHAT PRACTICAL and DIGITAL SKILLS DO I NEED?

This is where we get to the skills necessary for the job… well, underpinning it all is traditional Art & Design skills (something asked for in Industry when looking for Game Artist jobs).

In Part Four we will look at some tips and tricks for drawing faces and figures.

Once we have done a fair amount of thinking, reading, researching and a little more thinking about our characters, then we need to start experimenting with images…

Or, move into the digital 3D realm… and this might involve more sculpting, just digital in this instance – SculptrisDEMO.

All the while considering how these might be rigged and finally animated – Remember what we said about knowing how our characters move?

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Okay so lets take a step back… we saw how much of that early phase was built upon drawing. That freaks every on out. Especially if they have avoided drawing for six years and then get onto a games design course and say “I want to be a concept artist for games”, and my response is “Great, show me how good your sketchbooks are”.

This happens a lot, and it means that the person in question won’t get to the level that I can teach them to, in just the three years they are with me. Especially as I’m having to go back over basics they should have covered in their Art or Design GCSEs (which they may or may not have taken), or consolidated on their BTec.

In particular, and in no preferred order… Perspective Drawing, use of Light and Shade and Contour to generate Form, and Human Proportion.

If you want to be an Artist for Games or any other form of Entertainment Media, start drawing now. It will put you way ahead of many other students who make the decision late.

PART FOUR – SOME TIPS & TRICKS and Sculpting in digital 3D.

Physical Drawing: Computers will not save you – Contemporary Digital Sculpting in 3D software s an extension of drawing…

Our course allows access to a range of skills development that point towards a career in the creation of visual materials for the Entertainment Industries – Games, Film, TV, Animation, VFX and even Museums, Heritage and Visitor Attraction Design.

It is often a misunderstanding that Games Design is a purely technical computer science led discipline, but as our course deals with the visual development of concepts, environments, characters and props & objects and vehicles that all weave into a wider narrative, one of the primary skills for us to build on is an interest in telling stories through the visualisation of spaces, objects and characters.

This often means having traditional skills in drawing, painting and traditional 3D which underpins later studies in digital 3D.

Yes, you will eventually look at taking those designs into the digital realm, but the observation skills and narrative development that you have honed through drawing will help you in this.

Study Routes within the course are offered on an individual basis with some students gravitating towards Digital 3D Development (3D Modelling, MAterials and Texture Creation, Games Engine Implementation and Interactivity), and others towards Concept Art/Design Development (Traditional and Digital Concept Art & Design Development), with others combining the two.

The following link will take you to another wordpress page that contains the following info’:

An Overview of the three years of study Games Design BA (Hons) degree,HSAD.

A guide to portfolio expectations for interviews.

A Mini Brief to help with portfolio building should you require it.

The Games Design Showreel 2016 and links to the 2015 Showreel and Heritage Project Showreel

If you have any further questions about the course please do not hesitate to contact me at the following email address.

Gareth.Sleightholme@artdesignhull.ac.uk

Further, should you have fellow students or teachers that are interested in accessing additional information about the Games Design BA (Hons) at the Hull School of Art & Design, or any of HSAD‘s other creative degree courses please pass on my details and ask them to contact me or the Hull School of Art & Design directly.

tel – 01482 329943

This follow up to our initial contact is simply to restate that if you are still deciding which Art & Design HE course to attend, the HSAD programs are still accepting applications.

So I was asked as part of the Hull52 project to produce one of the cards for the set.

I was allocated the Jack of Clubs. Which is cool, I was happy to get a picture card… but what to do with it?

I wasn’t sure how I was going to go about it at first, and toyed around with a bunch of ideas,

…and did my usual research schtick, reading up on the history and symbolism of the cards and its tarot equivalents… which led me all the way back to the dualist, double headed imagery that we usually see on the picture cards of a typical deck, though I knew (after looking at the various Tarot representations – Princess/Knave etc.) that I wanted to make one half male and one half female.

Perhaps with one half dark and one half light, representing the good luck/creative and bad luck/destructive aspects of the tarot interpretations.

That mix of destructive symbolism and creative endeavour put me in mind of imagery such as the tower of Babel, add to that the imagery of the characters holding a living sapling instead of a wand or club.

The shields and other elements of the dress of the two characters would also reflect some of the medieval symbolism that was eventually brought into the tarot imagery, such as the white stag (above) and the ants that would eventually parade around the “reverse” aspect’s shield.

Likewise, the imagery of the rose and the salamander on the shield of the “upright” aspect.

With the (still quite loose) pencils complete, the next stage was hitting in with the inks.

The decorative style I ended up adopting (using a mix of drawing pens and brushpen) came out of my love of the work of Sergio Toppi‘s amazing comic book art, which I felt had a link to the surreal sweeping art of the painted tarot cards of Marguerite Frieda Harris, which was also at the back of my mind.

Ever start something and then regret it, laughs… I’d spent a lot of time of late trying to simplify my inking style, going for something much more economical in order to hit a higher page count… this was a step back to a more baroque approach.

The tower in this aspect (with the princess) needed to look like a positive project, a place to climb, for seekers of light and enlightenment… the floating islands and the miniature shrines there on attempting to convey an otherworldly spiritual journey.

By the time I’d got this far I think I knew it was going to be okay.

..and that was that, now to flip the image and work on the other half.

Here we go again…

The stoic look of the princess is here replaced by the laughing knave, I tried to give him the typical triple panelled feathered cap of a regular playing card jack, adding the tarot symbolism elsewhere, the stag on the shield, the (Wyrmwood-like) comet, and the aforementioned ants…

Plus there was that branch, here being broken, whilst he doesn’t notice…

Finally that reflection of the serene tower of creative and spiritual endeavour, here in turmoir and destruction, the towers falling figures mirrored by the falling leaves of the destroyed sapling, also a shadow of The Tower card from the tarot.

…A ship is caught in the chaos, a journey cut short by bad luck, or misadventure brought about by a lack of care or responsibility.

And there you have it… with just a little of what I was thinking whilst I pulled that image together.

Finally, after sending the work off to Adam and the gang at Hull52, it was great to have Domanic Li take the line work and add his own thing to THIS making it one of our first collab’s. Check out his stuff, Top work.

“Is that a Tank in Your Knapsack…?” – a Games Design exercise looking at Props, Objects and Inventories. – Creative Futures

Not every element of gameplay needs to follow real-world logic or physics, but occasionally identifying an old game play property and “upping” this real-world logic might just bring with it other game play opportunities and possibilities.

With that in mind…

You are to develop and visualise an item to be carried, pulled, owned by a player character in a game of your own invention (this can be a game that you have developed in an earlier session or one you are working on in your own time, or a wholly new concept).

This item should be the physical embodiment of your characters “inventory”; possibly a knapsack, a rucksack, a toolbox, Mary Poppin’s bag (or any magic bag), a magic hat, a utility belt, futuristic scanner/printer wit cloud storage, saddle bags etc, when seen in the game, and you should still be able to make the connection between this design when “in” or managing your inventory.

i.e. – The game is to be an RPG, and the inventory management system is an grid/object volume based system that upon filling requires a one in/one out choice from the player.

The prop/object you develop should be explored in both traditional materials; pens, pencil, charcoal, paint etc (include preliminary studies and sketches) and finally worked up using digital media, Photoshop, digital 3D etc.

Don’t choose your final item straight away, explore several approaches and designs to start with and select your final design from these. Don’t limit your project by missing out an entire part of the process.

The end result of this exercise should be several pages of sketches and design sheets. Plus a Final design sheet showing the object and the Inventory HUD/GUI.

Try to use this project as a means to an end, ie developing your drawing, 3D graphic design skills. This should again be something that appears in your ongoing Games Design Portfolio Your reflective notes should discuss this.

As part of the process of learning and skill set development, you should explore the work of Games artists you admire and look into their process, approach and even influences.

TO BE CLEAR! THE CARRY-ABLE OBJECT/INVENTORY REPOSITORY IS THE PRIMARY FOCUS OF THIS BRIEF, CHARACTER DESIGNS AND INVENTORY ITEMS ARE NOT.

Delivered as part of the Hull School of Art & Design Games Design programme, further to the Character design project set previously, in order to instil some of the traditional underpinning skills required by particular creative practices both historically and in contemporary industry .

Part 1 – Creative Futures / Part 2 Intro to 3D Realisation/Part 3 TBA

If you want to know what is required of you when looking at specific roles within industry, taking a peek at current job adverts is not a bad place to start…

This goes for developing your portfolio as a would be Character Designer for the Games Industry… see below.

In the absence of ZBrush it is possible to take a look at some related “making” principles via the related “gateway’ software Sculptris (free to download, and available on all machines in our studio).

Be aware the following project has an interim deadline prior to the Easter break but will be on-going until the May hand-in for both the above modules.

This brief will look at three areas of interest.

Celebrity Character Portraits

Self Portraits

Peer Portraits

With the self-portrait section taking priority. And Peer portraits being purely elective.

i.e 1 & 2 Mandatory, 3 Elective.

Part 1 – Creative Futures

You are to develop at least 3 traditional material portraits within each category above, each in a different material, pens, pencil, charcoal, paint etc (this does not include preliminary studies and sketches).

You are not to work from photographs with the exception of the Celebrity Portraits (though sketching from moving film is also a useful exercise). Mirrors and or live web cam feeds are acceptable.

A serious Self-Portrait study can take anywhere between 15/20mins and an hour+. Your work should reflect this. Scrappy sketches will only be accepted as preliminary studies.

For the celebrity portrait, you are to choose one of the following actors:

Steve Buscemi

Tilda Swinton

Wai Ching Ho

Samuel L. Jackson

Gabriel Byrne

Marianne Jean-Baptiste

Richard O’Brien

Judy Dench

Benedict Wong

Ian McNeice

The end result of this exercise should be several pages of sketches and Nine traditional portrait images, in a variety of media (look to your learning outcomes).

Try to use this project as a means to an end, ie developing your drawing skills. Serious study of anatomy, the structure of the face, and the bones and musculature that underpins this structure will be important. This should (as seen above, see job specs) be something that appears in your ongoing Games Design Portfolio Your reflective notes should discuss this.

As part of the process of learning and skill set development, you should explore the work of Games artists you admire and look into their process, approach and even influences.

Part 2 – Intro to 3D Realisation

You are to develop at least 2 digital 3D portraits based upon the portraits you have worked up above.

You may use ZBrush or Sculptris.

You are not to work from photographs with the exception of the Celebrity Portraits (though sketching/working from moving film is also a useful exercise).

Deadlines:

YOU WILL NEED TO HAND IN 3 TRADITIONAL PORTRAIT STUDIES PRIOR TO THE EASTER BREAK

YOU SHOULD HAVE 1 DIGITAL 3D SELF-PORTRAIT STUDY TO SHOW PRIOR TO THE EASTER BREAK

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Part 3 will be delivered upon completion of the first and second phases.

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Regarding “Selfies” – Below are some examples of the type of work possible.

The two selfies below were done this time last year.

No pencils or preliminary drawing even in paint, just straight in to blocking out and mark making with oils…

Below is the process from blank canvas to blocked out features, paying close attention to vast variations in skin tone and and light, whilst attempting to use this to “sculpt” the face, working on the “faceted” angles of the head.

The colours below have dulled from their original vibrancy.

Below is a brushpen a marker selfie, again working from a mirror, not photographs…

And a watercolour, brushpen and copic marker study done in the same sitting…

For comparison here’s an older pen and ink selfie… choosing a mid range brown paper allowed me to bring in some highlights using a white gel pen.

…and utilising a new skill set (I used Sculptris for the first time on March the 1st this year), this digital 3D selfie below, starting from scratch and using the webcam on the mac as a stand-in mirror.

Character design covers the full range of possibilities from creature designs through to human-iform beings and even sentient artificial living beings. This exercise allows you to develop a series of designs showing your ability to explore possibilities relating to character design, implied narrative and most importantly the modelling of more organic shapes than found in explorations of architecture or even organic environments and props.

As with all digtal modelling projects, solid traditional drawing will put you at an advantage. This is an opportunity to further explore this skill, in particular as it relates to the foundational knowledge of ANATOMY.

2D sketches and thumbnails/screenshots and final 2D paper based or 2D digital concept images/renders (full colour or line work/blocking out) – these should include all abandoned ideas as well as those that lead up to your final 3D design.

Final 3D grey-blocking (anatomical) to full 3D renders (Presentation Renders, not left in engine or handed over as raw software files).

…animation/interaction created during the developmental phase, drawn or digital is also optional.

Your final renders MUST be in digital 3D however.

Requirement ii – a rationale of how these Boxers might feature within a wider game concept, fully explored, descriptive, reflective outlines, with rough visuals and any game mechanics discussed.

Of course, any/all unusual and unique interpretive variations based on this theme WILL be applauded if in addition to your response to the basic brief.

All preliminary sketches/screenshots/sketch models as well as final imagery and sketchbook work to shown as part of hand in.

All colour at developmental stage can be digital, worked over a scan from your sketchbook & posted to your blog, but traditional colour will also be applauded.

… a (cited/sourced) list of influences/artists who you have looked at should be submitted with examples or their work on your blog/document.

Even if your “Boxer” is set in an alternate reality/history or the far flung future, this would be a great chance for you to add more reference photos to your files, so get out, go to galleries, make notes and of course use your camera, find something unique rather than just trawling Google and finding the images you need in two clicks – just like everyone else (it produces work so average it hurts).

What we DO NOT want to see is you slavishly copying something that exists in the real/games world already.

Use your reference, yes. But change, adapt, be inspired by it, don’t just copy it.

Okay… so I guess this side project came about whilst considering options for a more single image oriented project. One that might be tied to something local, perhaps my urban sketching of the city, its architecture, but then maybe incorporated a more fantastical element, as I did with “Room Head”, with the giant figure striding through that curious urban landscape…

So where to start… Well why not the sketchbook and some thumbnails…

As I drew these images down I’d begun to realise I was bringing some baggage with me in terms of influences… So I started to make a list which you can see at the top right of the left hand page… These included the obvious Guy Davis and Shaun Tan and perhaps the less obvious but to me… there nonetheless, Paul Madonna, Robh Rupper, Edward Hopper, Moebius (Jean Giraud), Lebbeus Woods, Butch Belair & Tracy Savage (some of which didn’t become apparent until much further along in the project).

Here you can see the creatures in their spore like nascent form clinging to the lines and posts of telegraph poles, or dominating the sky line in the adolescent form, tentacles waving, and moving along the backstreets, past windows, floundering in dried out swimming pools, wandering through the nearby countryside, and even emerging from the water of a marina (below). Until eventually they grow so large they cannot move and take root like trees dominating the city’s skyline, eventually opening their anemone-esque head and releasing spores of their own… all this ignored somehow by the residents of the cities and towns they have invaded.

Some sketches just dealt with the creatures… not set against the architecture of a city or a town, these came to me as more lonely affairs… More Wyeth than Hopper (laughs)…

Then because my impatience got the better of me I thought about using one of my existing architectural pieces and simply adding a creature to it… Looking through the work I already had (of Hull and elsewhere), I realised that the selection process might be slightly different than simply drawing a building in and of itself as part of a duet with a creature design, the building might have to play a reduced role rather than the central one, which called for a different type of building perhaps. Maybe something more mundane/everyday, rather than grand or characterful…

Which led me to choose my image of St. Patricks Church, Spring Street, Hull (Top of Page, here covered in scaffolding), as it appeared mostly brick in my image (its grand door way out of shot in my image).

I then just drew a sketch of a creature… trying to consider how the limbs and weight of the creature might look against the roof and brickwork.

…roughing some basic lines in for the building, meaning when it came to overlaying the creature (below) there was much less adjustment necessary (than if I hadn’t considered it at all).

click to enlarge

And then overlaying the drawing using the Multiply Blending Mode in Photoshop’s Layers dialogue box… adding another Multiply’d Layer, and Flatting out some basic colour, then using Dodge & Burn to shade and Hue/Saturation to adjust the eye colour. The seagulls floating about the creature’s head are simply repeats of the three from the top left of the original image.

After that it was back to planning wholly original pieces, so it was back to thumbnails…

You can see here the creatures again moving behind buildings, trapped in courtyards, attaching themselves to towers in that final phase and then towering above the buildings below like giant mushrooms.

I had by this point in time decided that these may well make a great subject for a range of images that might well pull together to become an exhibition. One that mixed drawings, design sketches and finished paintings… And with this in mind I started some further developed drawings and more colour tests of various sizes… Still just using “imaginary” settings or combinations of elements of actual architecture from around the city.

If you are wondering about those numbers up in the top right of the drawing… follow the line down into the drawing… See the “x”, that’s marking the intersection of the upper and right “thirds” of the composition… and so that’s where I’ve place the head of the creature.

But before diving into that large image I thought it best to practice or experiment with the way forward in colour…

These first colour works are done in watercolour, inking over the dried paint…

…and then scanning those and playing with them further using Photoshop.

All the while thinking about the possible “real world” settings for the images.

More sketches… this one sans creature from our kitchen window…

This one, a scrappy oversized thumbnail, with a creature based on the house opposite…

And here a more finished, measured drawing in my sketchbook… (again using the house opposite)

All the while, away from the drawing board more of those one-off monster images (this one clearly influenced by The Curse of The Black Pearl that we were watching that evening).

Then back to colour and smaller more finished tests…

Before a return to my full size drawing… finishing up the far left of the composition…

This (below) now measures about 700mm x 150mm… and as you can see I pushed the size of the creature to be cropped by the top of the image, which seems to help the composition… the head still remains on the upper right cross of the “thirds” based composition.

…and colour tests for that as well, here totally digital, with the hope to using this colour test as the basis for a traditional watercolour version.

This image above will be the first major test… I went out and found a frame size I liked, and measured the drawing out accordingly… I think I’d like to try a few in this format, both horizontal and vertical.

Anyway, back to the sketchbook and more potential monster shape sketches…

Then most recently heading out into the street to find places of interest…

…and draw the background architecture of the city from life…

Of course just adding existing sketches together isn’t always going to work as the combo above shows… so I’ll have to thumbnail each one out again a few times I’m sure… but I’m convinced this is going to be a fun project, and as I’ve been throwing these up on social media as I made them, I’ve been getting some positive feedback too, which is even more encouraging…

And not only that… I think I’m pretty sure of what I can do after this project (definitely an exhibition in my head now) has run its course too.